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  • Sunday Shortlist, from The Week
    An ‘enthralling love story’ and a high-octane action thriller

     
    FILM REVIEW

    One Battle After Another  

    Paul Thomas Anderson’s terrifically entertaining new film

    From “Boogie Nights” (1998) to “There Will Be Blood” (2007) and beyond, Paul Thomas Anderson has consistently refused to do the predictable thing, said Robbie Collin in The Telegraph. Yet even by his standards, “One Battle After Another” is an “electrifyingly improbable” proposition – a funny, “Dr. Strangelove”-style political satire cum action thriller, which “features not one, but two of the best car chases in years”.

    Set in an alternative America in which migrants are being herded into concentration camps, it stars Leonardo DiCaprio as Bob, a washed-up, long-retired left-wing militant and explosives expert. He is surviving off grid with his 16-year-old daughter Willa (Chase Infiniti) when his old nemesis – a white supremacist army colonel named Steven J. Lockjaw (Sean Penn) – rematerialises to settle a score and advance his “crazed” new political agenda.

    As the hapless Bob is dragged out of his druggy stupor and back into battle, the scene is set for “shootouts, military executions, bank robberies and city-wide sieges”, said David Jenkins in Little White Lies.

    Yet the film – which starts with a dazzling prologue in which we meet Bob in his insurgent heyday, when he is pursuing a relationship with a notorious fellow radical (Teyana Taylor) – is one of Anderson’s more melancholic works, a study of characters who’ve seen their idealism fade away and, in the years since their revolutionary actions, the return of a dismal status quo.

    The film is part high-octane action thriller, part a swipe at Trump’s America, and part a tender family drama, said Kevin Maher in The Times. I’m not sure that it’s Anderson’s masterpiece, but it’s terrifically entertaining, thundering “joyously along” for its entire run-time, and a “surefire Oscar frontrunner”.

     
     
    THEATRE REVIEW

    The Lady from the Sea  

    Simon Stone’s ‘thrillingly contemporary’ Ibsen adaptation 

    “Some plays are perfectly formed but perhaps a little dull,” said Sarah Crompton on WhatsOnStage. “Some meander but are utterly compelling.”

    Ibsen’s “The Lady from the Sea” (1888) – about a young wife caught between safe domesticity and an old lover, a sailor who returns to her port town – probably fits in that latter category; and Simon Stone’s “after Ibsen” adaptation certainly does.

    Stone has a reputation for “visceral and gripping” updates of classic dramas (“Yerma”, “Phaedra”). For this “thrillingly contemporary shake-up”, he has swapped 19th-century Norway for a modern home by Lake Windermere, and gathered a “luminous” cast, led by Alicia Vikander and Andrew Lincoln. The result is “hugely enjoyable”; and if it “isn’t quite as revealing as the best of Stone’s work, it’s only because he has set himself a very high bar”. 

    Lincoln is terrific as the husband, said Sarah Hemming in the Financial Times – and Vikander is “magnetic as Ellida, combining a lithe, bright physical presence with a quiet sense of deeply buried torment. Their climactic showdown is gripping.”

    The staging is good too, “full of skill and ingenuity”, said Dominic Maxwell in The Times. But the adaptation “drowns out Ibsen’s alluring strangeness as much as it makes it resonate”. And while the rain that pours onto the long, traverse set adds intensity in the second half, a brooding love scene between Vikander and Brendan Cowell, as her returned eco-warrior lover, is “slow, soggy and silly”.

    I found the whole thing a bit of a damp squib, said Alice Saville in The Independent. In “laboriously engineering” a plausible modern setting for Ibsen’s story, Stone has lost sight of what the play is actually about. Ellida’s “pivotal” choice between “bourgeois comfort and the elemental, sexual lure of the sea” could feel current, but somehow ends up as an afterthought – which is doubly odd, given the “vast amounts of water” that drenches the cast.

    Once the “ridiculous symbolic weather front” swamps the stage, it’s hard to really focus on the drama, said Robert Gore-Langton in The Mail on Sunday. It’s a “classic case of rain stops play”. 

    Bridge Theatre, London SE1. Until 8 November

     
     
    ALBUM review

    Jade: That’s Showbiz Baby!

    Ex-Little Mix star Jade Thirlwall’s debut single was both “crackers and brilliant”, said Laura Snapes in The Guardian. “Angel of My Dreams” “dodged focus-grouped smoothness to present a sublimely whacked-out, thoroughly British pop vision” that married a “Puppet on a String” sample with “falsetto-spiked” power balladry and rap. Thirlwall hasn’t quite maintained that standard across this album – but it’s a belter even so: a “wild ride through electroclash, Eurovision drama and emotive synth-pop”. 

    The best tracks here echo the “maximalist racket” of “Angel of My Dreams”, said Adam White in The Independent. I loved the “woozy drop and moans (plus a Supremes sample!)” on “Before You Break My Heart”; the “pouty chorus” on “Headache”; and the “sloppy, club-sweat carnality” of “IT Girl” and “Midnight Cowboy”. There are more conventional, chart-friendly sounds on “Lip Service” and the ballad “Silent Disco”. But the highs here are so “thrillingly nutty” that it is easy to buy into the idea of Thirlwall emerging as Britain’s “galaxy-brained saviour of pop”.

     
     
    BOOK OF THE WEEK

    The Loneliness of Sonia and Sunny

    by Kiran Desai

    Kiran Desai’s third novel has been a long time in the making, said Lucy Scholes in The Daily Telegraph: its predecessor, “The Inheritance of Loss”, won the Boozer Prize back in 2006. But despite this “lengthy gestation”, nothing about it “feels heavy or unwieldy”. A love story spanning nearly 700 pages, “The Loneliness of Sonia and Sunny” is a “magnificent” achievement – and is one of the “strongest” shortlisted contenders for this year’s Booker.

    Its two main characters come from wealthy neighbouring families in the Indian city of Allahabad, but both are in America when the novel begins. Sonia, who aspires to be a novelist, is at college in Vermont; Sunny is a trainee reporter in New York. When both return to India (Sonia to get over a relationship, Sunny to help a childhood friend), they meet by chance on a train – and feel an instant attraction. Over the pages that follow, Desai “skilfully traces their paths as they twist together and apart”, said Emily Rhodes in The Spectator. The result is “an enthralling love story” that blooms to cover many other themes: “alienation, creativity and the immense difficulty of finding a home”.

    I wouldn’t exactly call it “gripping”, said Anthony Cummins in The Sunday Times. “The story unfolds without any obvious rhythm”, and its narrative momentum is “dissipated” by the frequent shifts in viewpoint. But strangely, this doesn’t really matter: it reflects the fact that this is a “grown-up novel that doesn’t hold the reader’s hand”. Sexy, dramatic and “packed with incident”, “The Loneliness of Sonia and Sunny” is a work of “undeniable power and heft”.

     
     
    OBITUARY

    Robert Redford 

    Charismatic star who shunned the Hollywood limelight

    Robert Redford, who has died aged 89, was one of Hollywood’s biggest stars – a matinee idol with looks so chiselled, and yet so radiant, he routinely featured at the top of lists of the most attractive men of all time. Redford did not like being defined as a sex symbol, however. Though not untouched by vanity, he worried that his looks held him back, said The Daily Telegraph. And indeed, they had almost cost him the role that made him into a screen legend. “He’s just another Hollywood blond,” was a studio boss’s verdict when he auditioned for the role of the Kid in “Butch Cassidy and the Sundance Kid”. It was only thanks to the intervention of his co-star, Paul Newman, who was already a big name, that he got the part. 

    In 1963, he played the lead role in Neil Simon’s hit comedy play “Barefoot in the Park”, then in 1967 was cast in the screen adaptation, opposite Jane Fonda. That made his name. From the 1970s, he used his star power to make serious films with weighty themes. In 1974, he optioned “All the President’s Men”, Bob Woodward and Carl Bernstein’s book about their Watergate exposé, and he played Woodward in the 1976 film; in 1980, he made his Oscar-winning directorial debut with “Ordinary People”, a drama about a well-off family torn apart by repressed grief. This film, he revealed, drew on his own experience of bereavement; but he generally did not give much away about himself, said The Times. 

    Redford’s “outsider status” was reinforced by the fact that he had left LA early in his career, and lived for long periods in the wilds of Utah. An outdoors man and committed environmentalist, he trained horses and loved skiing. He gradually bought up land in the area, as well as a small ski resort, and in 1985 he founded a film festival there to promote independent filmmaking. The Sundance Film Festival, along with the institute for aspiring filmmakers that it had sprung from, was perhaps his greatest cultural legacy, said The New York Times. 

    Robert Redford was born in Santa Monica, California, in 1936. His father was an accountant. At high school, he excelled as an athlete, but was also a tearaway. He was 18 when his mother died suddenly of sepsis; and having won a sports scholarship to the University of Colorado, he was soon kicked out for heavy drinking and not turning up to practice. Redford spent time in Europe trying to become a painter. Back in New York he took classes in set design, then switched to acting. Aged 22, he married Lola Van Wagenen. She was heavily pregnant when Redford got his first part, in a play on Broadway. One morning a few weeks later, they found their baby son dead in his cot. “It was really hard,” Redford recalled. “We were very young. We didn’t know anything about sudden infant death syndrome, so as a parent you blame yourself. It creates a scar that never completely heals.” He and Lola had three more children – including a son, James, who had a rare liver disease and died aged 58. They quietly split up in 1985; he later married Sibylle Szaggars, an artist, who survives him. 

    Redford did not go in for showy monologues or sharp one-liners, said Kevin Maher in The Times. It is images of him in close-up that are “burned into movie culture”; he had in spades a quality that “movie nerds” call “to-be-looked-at-ness” – which is why his best films were mostly “double-headers”: they allowed us to see him through the eyes of his co-stars. He acted less from the 1980s, but continued to appear in major films including “Out of Africa”. As a director, he won plaudits for “Quiz Show” and “A River Runs Through It”, starring a young Brad Pitt. One of his last roles was in 2013’s “All is Lost”, about a solo sailor’s battle for survival. It was considered one of his most remarkable performances, and he was disappointed not to be Oscar nominated for it. He never did win an acting Oscar.

     

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